Lozz196

Keeping it sort of in the family, why not look at Ashdown cabs to match with the head? They do an ABM PRO NEO range which are light and sound great.

Yeah it was a real shame, my sound was only driven when hit hard, and quite clear & defined. By adding in pre-eq he essentially Motowned the bass for that gig, making it much warmer and more traditional Precision like, whereas Duff McKagan would be a better area to think of for what I did.

I remember playing a gig where the sound engineer wanted to mix a clean pre-eq signal with my Sansamp (usually just Sansamp DI’d), explaining he wanted to keep the lows clean and only the highs driven. Many people who followed the band came up to me afterwards and asked me what was wrong with the bass that night, I didn’t have to say anything, I just pointed. With that one decision he ruined the sound of the band that night - as our fans pointed out. Fans who had paid £18 I should add.

Love that, when you have so much history with an instrument it’s that which makes it irreplaceable, not the cash value, name on the headstock of year of manufacture.

I found that the core tone of TC & Markbass to be quite similar, so as she liked the TC amp but there aren’t enough funds to cover a new one then I’d check the Marcus 500. My personal recommendation would be the Ashdown RM500 though.

Def, when we did it it was Johnny Rod’s version I tried to get near. Not sure I managed it all that well, much more a case of bluff & hope.

Similar reasons as to why I switched from Barefaced to Ashdown cabs. In my past bands the Barefaced had been exceptional but in the 3 piece punk band I needed that depth and Ashdown/Ampeg were the ones I liked best, Ashdown winning out on many other factors.

I know some songs that I played incorrectly, some of the time it was due to the line up of the band requiring me to do something different, sometimes down to me not having an earthly on how to work out the actual line (The Real Me by The Who springs to mind here).

For gigging in my last band I always went DI from my Sansamp Para Driver. As it was always gear shares or provided rigs the only way to get a consistent sound to FOH was to bypass whatever amp or cab I was using, leaving that really for on stage sound which wasn’t that important to me. That said on the rare times I used my own full rig or an Ampeg SVT set up I did enjoy it more.

Same, I find on my set up that the DI gives better clarity & presence but the cab adds in greater depth.

Yes, I can only imagine how good it must be to have a CTM, but the back sadly isn’t in agreement. The difference on a big stage between the RM to the ABM is pretty apparent, wonder if it’s the same sort of difference again from the ABM to CTM.

I know what you mean, at rehearsals I always used my RM500 as there was no real difference to my ABM600, however on a proper big stage the ABM came into its own delivering a solid powerful sound.

Now I’m in a classic rock band doing 70s style rock my tone is a pretty generic Fender type tone, one that supports the songs rather than tries to cut through the mix. Hard placed to notice it until it’s not there. I tend to pick the tone to the band, as in my last band (punk) it was a cross between Duff McKagan, JJ Burrell & Lemmy, I’m not a big believer in “that’s my tone irrespective of what band/genre”.

Agree, the science and theory says they shouldn’t but I’ve had a good few 210/115 rigs and they’ve all been great, with both cabs together always sounding better than each cab on its own.

My all time fave is a line in a song by Dragster: Feel the pain in my skeleton (with skeleton pronounced skeletain)

Yeah that’ll be fine, no worries.

Well the Hartke rig will be more than up to that job. As will the Markbass/GK, but from your comments I’d lean towards the Hartke rig.

Essentially 400 watts into each cab, and as each cab is a 410 100 watts to each speaker. But even if there were a danger of blowing a cab you’d you’ll blow your eardrums before that with the power available. Only real thing to be wary of is matching different cabs, doesn’t always work from what I’ve read, tho from experience I’ve never encountered any of the problems mentioned.

Sandblastmungus! Great looking basses.

Unusual to not get a reply from @Ashdown Engineering hopefully they’ll be along soon to advise, but I think you’ve hit it, either valve on way out or possibly just coming out of its holder (happened to me on a Marshall MB amp).

Mudpup has described the ABM600 really well, and that amp would be my recommendation. The RM sounds very close to it but there is just “something extra” in the sound of the ABM. It’s my fave amp that I’ve ever had, I foolishly sold mine last year when I left my band then realised my folly and bought another. Plus they’re not too heavy which is always a consideration with tubes.

I think Chris has hit it on the nail there. Having played bass, guitar, and done lead vocals in bands all whilst in the same clothes and body, the amount of attention I received from the ladyfolk whilst doing guitar and lead vocals for a short time far outweighs that of when I’ve played bass. Must admit I never got any attention from cats though.....

In a car with no other band members gear Mono M80 or Vertigo. In a car with other band members gear or back of a van Hiscox.

Ashdown RM cabs are decent sounding, light, and not too expensive. Their ABM NEO range a bit more expensive and possibly slightly heavier (think about 17kg for the 210).

For me it’s single Precision pickup. I love Jazz basses (neck on full, bridge on about a quarter) and P/J setups (both on full) but that full on thump of that single Precision pickup is “me”. I suppose I got that from the punk bassists of the late 70s such as JJ Burnel, Bruce Foxton, Paul Simenon etc, where the bass was very prominent in the mix.